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At  the 


AVDITORIVM  PLAYE-HOVSE 

A  Pleafant  Comedy 

TheCafeisAIterd 


Ben.  Ionson 


Publiquely  acted  by 

Students  in  the  Vniversitie 

for  7he  Vniuemtie Settlement 

Saturday  Maye  5eventeentb 

CM.  DCCCC.  II 


162. 


From 

"Ye01d-Tyme" 
Tailor  Shop 
*>Our  Store 

where  can  be  had  "ready-for- 
service"  the  "Mossler- 
hand-built" 

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NOSSLERCO 

MODERN  CLOTHIERS 

1 21  MONROE  NEA* 


At  the  AUDITORIUM 
PLAYE-HOUSE,  Chicago 

NEARE  TO  THE  BANK-SIDE 


Saturday  Evening,  the  Seventeenth  of  Maye 

next,  a  Right  Mery  and  Wittie 

Comedie  Intituled 


The  Cafe  is  yllterd 


Publiquely  acted  by  the  studentes 
in  the  Universitie 


The  Author  BEN  IONSON 


After  Plautus  his  Aulularia  and  Captivi.  Wherein  be 
exhibited  the  humours  of  Jaques  the  miser,  Juniper  the 
cobbler,  and  Peter  Onion,  the  merrie  jeasts  of  the  pages,  and 
the  loves  of  Rachel  and  Lord  Paulo. 

First  acted  manie  yeares  since  by  the  children  of  the 
Black-friers.     Now  first  re-enacted  on  any  stage. 


Rare  Old  English  Prints  in  Color 
YE  ANDERSON  ART  CO. 

Wabash  Ave.  and  Madison  St. 


QUEEN   ELIZABETH'S   COACH 

Braun,  "  Civitates   Orbis    Terrarum,"  l$y2 

Frames  to  suit_y*  modern  tastes  and  everything  that  pertains  to  ye  High  Arts. 


For  the  past  thirty-seven  years  this  Com- 
pany has  been  investing  money  for  a  great 
many  people  who  by  reason  of  their  occu- 
pation have  little  opportunity  to  become 
familiar  with  the  detail  work  necessary  to 
make  safe  investments.  We  have  invested 
for  such  people  over  forty -nine  million 
dollars  without  loss.  If  you  are  interested  in 
knowing  how  we  do  this,  we  will  be  pleased 
to  send  you  our  printed  matter  upon  request. 

PEARSONS-TAFT 
LAND  CREDIT  COMPANY 

140  Dearborn  Street 


tCLs 


A  Plea/ant  Comedy, 

CALLED. 

The  Cafe  is  Akerd. 


Ash  hath beenefundiy  times  atfed  by  the 
children  of  the  Black-friers. 

Written  byBuw.  Ichson, 


LOND02^9 

Printed  fox  Bartholomew  Sutm,  and  William  Birteng<er% 
and  arc  to  be  fold  at  the  great  North-doorc 
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5 


Quaflfe  Ye  Hydrox 
Shun  Ye  Peste 


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K.    Pipes  and  Ale  :  final  time  of  Q.  Elizabeth  or  early  of  James  I. 

SHAKSPERE'S  ENGLAND  :    STUBBES.  d 


3" 


Jonson,  returning  from  a  merry  meeting  of  Shades  at  the  Mermaid, 
meets  his  Stage-Keeper. 

yonson. — I  dranke  of  our  full  Mermayd  wine  last  night 
And  flow'd  with  poesie.     But  now,  ow!  what 
A  head !     E'en  Shades  must  shun  the  flowing  bowl — 
Though  a  spirit  sure  to  spirits  should  be  drawn ! 

Stage-Keeper. — Drinke  water,  master,  only  there  is  health. 

Yonson. — Fie!  thin  potations?  besides,  'tis  dangerous! 

Stage-Keeper. — But  now  the  case  is  alter 'd.     In  Hydrox  lies 
Your  help.     Drink  Hydrox.     All  the  world  it  drinks. 

jfonson. — And  so  must  I.  [Drinks]  See  how  it  sparkles!  And  I 
Do  feel  myself  new  rapt  with  holy  fire: 
O  pour  but  Hydrox  in  the  cup 
And  I'll  not  ask  for  wine! 

Made   by 

Ye  Consumer's  Companie 

Consumed    by    All    Ye     Jf^orlde 


25u#inegg  ^anagerg 


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ie  S^apfceg  of  ne  €&eatre 


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WABASH  AVE. 


BEN  JONSON 
Picture  by  Gerard  Homthorst 


JONSON  AND  HIS  WORK. 

Jonson  was  born  in  London  in  1573  and  was  educated  under 
the  direction  of  Wm.  Camden.  He  does  not  appear  to  have  at- 
tended the  University,  but  became  by  private  study  one  of  the  most 
learned  men  of  his  time,  so  depriving  the  Baconian-Shakespeare 
advocates  of  one  of  their  best  arguments.  He  worked  as  a  brick- 
layer, the  trade  of  his  stepfather,  until  he  became  a  soldier  in  the 
Low  Countries,  and  then  returned  to  London,  where  he  married 
and  became  connected  with  the  theater. 

How  long  he  worked  before  Every  Man  in  His  Humor  made 
him  famous  we  do  not  know,  but  that  play  was  given  early  in  the 
fall  of  1598  with  immense  success  by  the  company  of  which  Shaks- 
pere  was  a  member.    At  the  end  of  September  of  the  same  year 


Scene:    The  House  Boat  on    the     Styx. 
(The  Shades  of  Cardinal  Richelieu  and  Ben  Jonson  are  discovered 
in  the  smoking  room.) 

Jonson. — Know'st  thou,  my  lord,  these  bustling  burghers  by  the  lake  turn  them 
from  their  swine-slaughter  and  money-grubbing  for  a  night  to  put  a  play 
of  mine  upon  the  boards  ? 

Richelieu. — 'Tis  little  change  of  occupation,  methinks. 

Jonson. — Od's  wounds !  Thou  art  bitten  deep  with  envy  of  my  fame. 

Richelieu.  —  Fame  forsooth !  What  profit  for  knavish  school  boys  to  bawl  some 
hundred  lines  of  ranting  stuff  ?  Fame,  sirrah  I  I'd  have  thee  know  what 
fame  is.  My  name's  immortal.  Wouldst  quaff  the  choicest  brew  of 
coffee-berry,  then  must  thou  swallow  Richelieu.  Wouldst  puff  thy  bread 
with  leaven,  then  must  thou  seek  the  magic  powder,  Richelieu.  An  thou 
wouldst  procure  potted  meats  and  preserves  the  very  best,  then  must  thou 
invoke  the  name  of  Richelieu. 

"As  long  as  cake  must  lightly  rise, 

As  long  as  men  shall  coffee_  brew, 
As  long  as  women  folk  are  wise, 

Then  will  they  call  for  Richelieu" 

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Jonson  became  involved  in  a  duel,  killed  his  opponent  and  was 
nearly  executed  for  it,  only  escaping  by  "benefit  of  clergy."  From 
this  time  on  he  was  one  of  the  most  prominent  dramatists  of  his 
time  and  a  friend  of  its  greatest  personages.  In  1599  or  1600 
began  his  literary  quarrels  with  Marston  and  Dekker — in  which 
the  weapons  used  were  satiric  dramas  in  which  the  dramatists 
represented  each  other  in  ludicrous  and  humiliating  characters.  It 
is  possible  that  the  "Case  Is  Altered"  with  Onion  and  Juniper  be- 
longs to  this  series  of  plays. 

In  1603  Jonson  began  to  write  for  the  entertainment  of  the 
court,  and  in  the  compositions  of  his  fanciful  masques,  full  of  deli- 
cate poetry  and  classical  allusions,  this  master  of  satire  and  of  com- 
edy displayed  an  entirely  different  but  equal  power.  From  1603- 
1616  was  Jonson's  period  of  greatest  success;  in  it  all  his  greatest 
works — The  Silent  Woman,  Volpone,  Alchemist,  Sejanus,  Catiline 
— were  produced;  he  was  the  "constant  guest  of  the  great  and  the 
king  of  good  fellows."  In  this  period  the  former  quarrel  with 
Marston  was  brought  to  an  end,  and  except  for  a  little  trouble  over 
"Eastward  Ho"  all  was  smooth  sailing.  In  161 3  he  had  traveled 
to  France  as  governor  of  Raleigh's  son,  and  again  in  1618  he  went 
on  a  pedestrian  tour  to  Scotland,  in  which  journey  occurred  the 
"conversations"  with  Drummond.  In  1619  Oxford  gave  him  a 
degree.  Before  1623  his  library  was  burned ;  but  aside  from  these 
two  events  he  seems  to  have  spent  most  of  his  time  till  1625  without 
interruption  in  visiting  his  friends  among  the  nobility  and  in  an 
absolute  withdrawal  from  composition  for  the  public  stage. 

In  1626  he  became  ill,  in  1629  his  play  "The  New  Inn"  met  with 
an  absolute  failure,  and  in  1630  the  masque  at  court  failed  also. 
Jonson  and  Inigo  Jones  (who  planned  the  elaborate  scenery  for  the 
masques)  could  not  agree,  and  so  Jonson  lost  the  chance  of  writing 
for  the  court.  In  comparative  poverty  and  unpopularity  his  life 
came  to  a  close  Aug.  6,  1637,  though  before  the  end  he  again  had 
the  favor  of  the  court  and  the  homage  of  a  new  school  of  authors, 
"The  Tribe  of  Ben."  On  his  tombstone  in  Westminster  Abbey  is 
inscribed  "O  rare  Ben  Jonson." 

So  much  in  outline  of  the  life  of  the  big,  burly  man  "with 
mountainous  belly  and  ungracious  gait,"  as  he  himself  says.  But 
to  know  these  few  dates  is  not  to  know  him  as  he  really  was — com- 
bative always,  confident  that  he  was  right,  a  masterful  man;  prob- 
ably as  Drummond  says,  "a  great  lover  and  praiser  of  himself"; 
passionately  kind  and  angry;  careless  either  to  gain  or  keep;  a 
good  friend  and  a  good  enemy;  hitting  hard,  but  not  cherishing  a 


A.  E.  BINGHAM,   Prest.  C.  A.  MARSH,  Vice-Prest.  G.  M.  WHITNEY,  Secy  4.  THEAS. 

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grudge ;  no  respecter  of  persons — "he  never  esteemed  of  a  man  for 
the  name  of  a  Lord";  loving  most  to  be  styled  "Honest";  not  let- 
ting his  affection  blind  his  judgment;  candid  in  his  criticism  and 
his  friendship,  as  his  remarks  on  Shakspere  show;  and  adding 
to  it  all  a  quality  of  goodfellowship  and  heartiness  that  made  all  his 
contemporaries  his  friends,  whose  egotism  did  not  prevent  them 
from  overlooking  each  his  own.  It  is  this  last  quality  which  most 
distinguishes  him  from  the  later  Johnson.  To  say  Sam  Johnson  is  as 
incongruous  as  to  say  Dr.  Benjamin  Jonson,  though  in  scholar- 
ship and  attainments  the  latter  quite  as  much  deserves  the  title.  In- 
deed, he  was  a  man  who  we  would  have  honored,  admired,  loved  and 
got  angry  at,  if  we  could  have  known  him,  much  as  did  his  con- 
temporaries. Though  we  cannot  know  him  we  can  approach  him 
through  his  work.  The  following  quotations  are  selected  as  best 
illustrating  his  life  and  character.  G.  F.  R. 


[From  Drummond's  Conversations  with  Jonson.] 

JONSON  ON  HIS  OWN  LIFE,  EDUCATION,  BIRTH, 

ACTIONS. 

His  grandfather  came  from  Carlisle  and,  he  thought,  from  Anan- 
dale  to  it;  he  served  King  Henry  the  Eighth,  and  was  a  gentleman. 
His  father  lost  all  his  estate  under  Queen  Mary,  having  been  cast  in 
prison  and  forfeited;  at  last  turned  minister;  so  he  was  a  minis- 
ter's son.  He  himself  was  posthumous  born,  a  month  after  his 
father's  decease;  brought  up  poorly,  put  to  school  by  a  friend  (his 
master  Camden)  ;  after  taken  from  it,  and  put  to  one  other  craft 
(I  think  was  to  be  a  wright  or  bricklayer),  which  he  could  not  en- 
dure; then  went  to  the  low  countries;  but  returning  soon,  he  be- 
took himself  to  his  wonted  studies.  In  his  service  in  the  low  coun- 
tries he  had,  in  the  face  of  both  the  camps,  killed  an  enemy  and 
taken  opima  spolia  from  him,  and  since  his  coming  to  England, 
being  appealed  to  the  fields,  he  had  killed  his  adversary,  which  had 
hurt  him  in  the  arm,  and  whose  sword  was  ten  inches  longer  than 
his;  for  the  which  he  was  imprisoned,  and  almost  at  the  gallows. 
Then  took  he  his  religion  by  trust  of  a  priest  who  visited  him  in 
prison.    Thereafter  he  was  twelve  years  a  Papist. 

He  was  Master  of  Arts  in  both  the  Universities,  by  their  favor, 
not  his  study. 

He  married  a  wife  who  was  a  shrew,  yet  honest;  five  years  he 
had  not  bedded  with  her,  but  remained  with  my  Lord  Aulbanie. 

13 


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In  the  time  of  his  close  imprisonment,  under  Queen  Elizabeth, 
his  judges  could  get  nothing  of  him  to  all  their  demands  but  Ay  and 
No.  They  placed  two  damn'd  villains  to  catch  advantage  of  him 
with  him,  but  he  was  advertised  by  his  keeper;  of  the  spies  he  hath 
an  epigram. 

When  the  king  came  in  England  at  that  time  the  pest  was  in 
London,  he  being  in  the  country  at  Sir  Robert  Cotton's  house  with 
old  Camden  he  saw  in  a  vision  his  eldest  son,  then  a  child  and 
at  London,  appear  unto  him  with  the  mark  of  a  bloody  cross  on  his 
forehead,  as  if  it  had  been  cut  with  a  sword,  at  which  amazed  he 
prayed  unto  God,  and  in  the  morning  he  came  to  Mr.  Camden's 
chamber  to  tell  him;  who  persuaded  him  it  was  but  one  apprehen- 
sion of  his  fantasy,  at  which  he  could  not  be  dejected;  in  the  mean- 
time comes  there  letters  from  his  wife  of  the  death  of  that  boy  in 
the  plague.  He  appeared  to  him,  he  said,  of  a  manly  shape,  and 
of  that  growth  that  he  thinks  he  shall  be  at  the  resurrection. 

He  was  delated  by  Sir  James  Murray  to  the  king  for  writing 
something  against  the  Scots,  in  a  play  "Eastward  Ho,"  and  volun- 
tarily imprisoned  himself  with  Chapman  and  Marston,  who  had 
written  it  amongst  them.  The  report  was  that  they  should  then 
have  had  their  ears  and  noses  cut.  After  their  delivery  he  ban- 
queted all  his  friends;  there  was  Camden,  Selden  and  others;  at 
the  midst  of  the  feast  his  old  mother  drank  to  him,  and  showed  him 
a  paper  which  she  had  (if  the  sentence  had  taken  execution)  to  have 
mixed  in  the  prison  among  his  drink,  which  was  full  of  lustie  strong 
poison,  and  that  she  was  no  churle,  she  told,  she  minded  first  to  have 
drunk  of  it  herself. 

He  had  many  quarrels  with  Marston,  beat  him  and  took  his 
pistol  from  him,  wrote  his  Poetaster  on  him ;  the  beginning  of  them 
were,  that  Marston  represented  him  in  the  stage. 

Sir  W.  Raleigh  sent  him  governor  with  his  son,  anno  1613,  to 
France.  This  youth  being  knavishly  inclined,  among  other  pas- 
times, caused  him  to  be  drunken,  and  dead  drunk,  so  that  he  knew 
not  where  he  was,  thereafter  laid  him  on  a  car,  which  he  made  to  be 
drawn  by  pioneers  through  the  streets,  at  every  corner  showing 
his  governor  stretched  out,  at  which  sport  young  Raleigh's  mother 
delighted  much,  saying  his  father  young  was  so  inclined,  though 
the  father  abhorred  it. 

He  can  set  horoscopes,  but  trusts  not  in  them. 

Every  first  day  of  the  new  year  he  had  20  pounds  sent  him  from 
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16 


After  he  was  reconciled  with  the  church,  and  left  off  to  be  a 
recusant,  at  his  first  communion,  in  token  of  true  reconciliation,  he 
drank  out  all  the  full  cup  of  wine. 

Being  at  the  end  of  my  Lord  Salisbury's  table  with  Inigo  Jones, 
and  demanded  by  my  Lord  why  he  was  not  glad,  "My  Lord,"  said 
he,  "you  promised  I  should  dine  with  you,  but  I  do  not/'  for  he 
had  none  of  his  meat;  he  esteemed  only  that  his  meat  which  was 
of  his  own  dish. 

He  hath  consumed  a  whole  night  in  lying  looking  to  his  great 
toe,  about  which  he  had  seen  Tarters  and  Turks,  Romans  and 
Carthaginians  fight  in  his  imagination. 

Northampton  was  his  mortal  enemy  for  beating,  on  a  St. 
George's  day,  one  of  his  attenders ;  he  was  called  before  the  council 
for  his  "Sejanus,"  and  accused  both  of  popery  and  treason  by  him. 

Sundry  times  he  hath  devoured  his  books,  i.  e.,  sold  them  all 
for  necessity. 

He  hath  a  mind  to  be  a  churchman,  and  so  he  might  have  favor 
to  make  one  sermon  to  the  king  he  careth  not  what  thereafter 
should  befall  him,  for  he  would  not  flatter  though  he  saw  death. 

HIS  OPINIONS. 

It  were  good  that  the  half  of  the  preachers  of  England  were 
plain  ignorants,  for  that  either  in  their  sermons  they  flatter  or  strive 
to  show  their  own  eloquence. 

That  he  wrote  all  his,  first  in  prose,  for  so  his  master,  Camden, 
had  learned  him. 

That  the  half  of  his  Comedies  were  not  in  print. 

He  said  to  the  king  his  master,  M.  G.  Buchanan,  had  corrupted 
his  ear  when  young,  and  learned  him  to  sing  verses  when  he  should 
have  read  them. 

Of  all  his  plays  he  never  gained  two  hundred  pounds. 

He  had  oft  this  verse,  though  he  scorned  it: 

"So  long  as  we  may  let  us  enjoy  this  breath, 
For  nought  doth  kill  a  man  so  soon  as  death." 

He  said  to  me  that  I  was  too  good  and  simple,  and  that  oft  a 
man's  modesty  made  a  fool  of  his  wit. 

He  dissuaded  me  from  poetry,  for  that  she  had  beggared  him, 
when  he  might  have  been  a  rich  lawyer,  physician  or  merchant. 

He  was  better  versed,  and  knew  more  in  Greek  and  Latin,  than 
all  the  poets  in  England,  and  quintessence  their  brains. 

Of  all  styles  he  loved  most  to  be  named  Honest,  and  hath  of  that 
one  hundred  letters  so  naming  him. 

17 


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THIS  is  a  trying  period  of  the  year  for  the 
man  who  has  not  as  yet  purchased  a  new 
Summer  Suit.  About  the  17th  of  May 
he  usually  tosses  up  a  penny  to  see  whether  he 
will  get  a  new  suit  or  finish  out  the  season  with 
his  old  one  —  heads,  he  buys;  tails,  he  doesn't. 

If  tails  are  up  he  thinks  he  has  saved  money 
and  forthwith  he  proceeds  to  blow  in  the  price 
of  a  new  outfit  on  the  race  tracks.  Then  he 
makes  himself  uncomfortable  all  summer  long 
trying  to  hide  the  shabbiness  of  his  back 
number  suit. 

Don't  do  it.  No  man  can  be  entirely  happy 
in  out-of-date  clothing.  The  satisfaction 
afforded  by  a  new  suit  is  worth  far  more  than 
it  costs.  If  you  owe  yourself  a  new  suit,  then 
pay  the  debt. 

Let'" us  supply  the  garments  and  your  happi- 
ness will  be  unalloyed. 


TAILOR    for    YOUNG     MEN 

129-131  La  Salle  St.,  Chicago 
A.  N.  JERREMS,  Manager 


yywwww^ww*iwwyft?^$ 


Dramatis   Personae 


Count  Ferneze,  lord  of  Milan William  A.  Averill 

Lord  Paulo  Ferneze,  his  elder  son,  and  soldier  zvilh  Maximilian,  in  love 

with  Rachel Egbert  T.  Robertson 

Camillo  Ferneze,  supposed  Gasper,  a  younger  son,  long  lost ;  protege  of 

Chamont Emil  Goettsch 

Maximilian,  General  of  the  forces  of  Milan Arthur  P.  SolberG 

Lord  Chamont,  friend  to  Gasper 

Angelo,  gentleman  and  friend  to  Paulo Caspar  G.  Larsen 

Francisco  Colonnia,  a  gentleman  of  Milan Leon  P.  Lewis 

Jaques  de  Prie,  a  beggar  and  miser,  really  Melum,  andfonnerly  steward 

to  Chamont' s  father. David  A.  Robertson 

Antonio  Balladino,  pageant  poet  {Anthony  Munday) Cash  A.  Newkirk 

Christophero,  Count  Ferneze' s  steward William  J.  Sherman 

J  Sebastian Hayward  D.  Warner 
Martino Frederick  D.  Hateield 
Vincentio Harold  N.  Dennis 

Valentine,  servant  to  Colonnia Mark  R.  Jacobs 

Peter  Onion,  groom  of  the  hall, Howard  Woodhead 

Juniper,  a  cobbler  and  retainer  to  Count  Ferneze ;  a  malaprop  .Harrie  J.  Lurie 

Pacue,  page  to  Gasper Sherlock  B.  Gass 

Finio,  page  to  Camillo Albert  R.  Vail 

Aurelia  |  _,       ,.      .    _      .  _  i  Herbert  V.  Mellinger 

,_.,        .     .,      \ Daughters  to  Count  Ferneze <  _.  ^  „ 

Phoemxella    \         a  {  Frederick  D.  Bramhall 

Rachel  de  Prie,  supposed  daughter  to  f agues ;  really  Isabel,  sister  to 

Chamont John  H.  Weddell 

Sewer,  Messenger,  Servants,  el  al, 

MEN. 

Clark  A.  Jennison,  "The  Man  with  the  Song" ;  S.  B.  Terry,  "To  Remember 
the  Name  Tsolin";  Carl  Van  Vechten,  Trumpeter;  Coulter  Craig,  Court 
Jester. 

Stage  Servants — John  James  Van  Nostrand,  Jr.,  H.  C.  Hulbert,  Ignatius 
Barnard,  Edgar  L.  Strauss. 

Trademen — W.  Henry  Elfreth,  Walter  Parker,  Thomas  J.  Hair,  T.  W. 
Brophy,  W.  B.  Smith,  G.  E.  Goodrich. 

Gallants— Eli  P.  Gale,  R.  M.  Gibboney,  Charles  M.  Steele,  I.  L.  Brode, 
Frank  McNair,  Richard  Wellington,  Dudley  R.  French,  Samuel  Salinger, 
Charles  R.  McMillan,  Adelbert  T.  Stewart,  Harry  W.  Getz,  E.  Vincent 
Quinby,  John  S.  Wright,  H.  H.  Bates,  Stephen  R.  Capps,  T.  M.  Horton. 

19 


YE  LADIES  o/Y*  CITIE 


which  are  seeking  ye  wimples,  ye  kirtles,  ye  stomachers, 
ye  kerchiefs,  ye  petticotes,  ye  farthingales,  ye  clocked 
hosen  of  meny  hues,  shd  hie  them  hither  right  hastilie 
and  bargain  for  ye  same.  An  they  comme  atte  ye 
dawn  of  daye  they  shunne  ye  pushe- 


alle  ye 

newest  stuffs 

from 

London  Town6 

and 

laces  from  ye 
Flemish  cities, 

besides  ye 

domestick 
fabricks 


Messrs.  Carson,  Pirie, 
Scott   and  Companie 

»V"  STATE  STREETE  ./Y'  CORNER  of 
WASHINGTON  STREETE 


WOMEN. 

Court  Ladies — Julia  C.  Hobbs,  Lorena  King,  Clara  Bessie  Fralick,  Anna 
Lazear,  Grace  Warren,  Margaret  Wilson,  Laura  Ward,  Alene  Williams,  Mar- 
garet G.  Coulter. 

Flower  Girls — Marguerite  Crofoot,  Ruth  Cohen,  Fannie  Lenore  Benson, 
Grace  Darlington,  Edith  Simpkin,  Marian  Schwarz,  Edith  Brownell,  Dorothy 
Duncan,  Flora  B.  Weil,  Faith  Latimer,  Gladys  M.  Bray,  Marian  Biegler, 
Narcissa  Cox. 

Orange  Girls — Ethel  Claire  Randall,  Jessie  Sherman,  Edith  C.  Bellamy, 
Vida  Sutton,  Leona  Canterbury,  Phoebe  Ellison,  Florence  Evernham,  Zerlina 
Hirsch,  Ivy  S.  Brown,  Esther  Salter,  Jennie  Thompson. 

Trade-women — Jane  Munroe,  Mary  E.  Thompson,  Emily  E.  Dobbin,  Flor- 
ence Morrison,  Mabel  Whiteside,  Rena  Hooper,  Mabel  Pain,  Margaret  Don- 
nan,  Hazle  Buck,  Anna  B.  Jenks,  Miss  Truesdell,  Edith  Shaffer,  Margaret 
Wade,  Marian  Lyons,  Martha  Landers,  Ethel  Dewey,  Bertha  Warren,  Jane 
Walker,  Sarah  Morris,  Louise  Brown,  Agnes  Wayman,  Frances  Taussig,  Deo 
Whittlesey,  Florence  P.  Hood. 

SCENE:    Milan. 
The  following-  is  a  brief 

SYNOPSIS  OF  THE  ACTION. 

The  plot  is  a  complication  of  contretemps,  each  strand 
of  the  story  having  an  outcome  in  the  discomfiture  of  some 
character  or  some  change  of  fortune  by  which  the  Case  is 
Altered. 

ACT   I. 

Scene  i:  The  humors  of  Onion  and  Juniper,  who  are  called  to  assist  in 
serving  at  Count  Ferneze's.  Antonio  Balladino,  the  pageant  poet  (covert 
satire  on  Anthony  Munday,  a  contemporary  poetaster).  Valentine  her- 
alds the  return  of  his  master,  Francisco  Colonnia,  from  his  travels,  and 
learns  that  the  household  is  in  mourning  for  the  recent  death  of  the 
Lady  Ferneze. 

Scene  2:    The  humors  of  Juniper  and  Valentine.    The  wonders  of  travel. 

Scene  3:  Further  conference  of  the  servants.  Introduction  of  Christophero 
the  steward.  Lord  Paulo  is  about  to  accompany  Maximilian  on  the 
impending  expedition  against  the  French. 

Scene  4:  Lord  Paulo,  about  to  depart,  entrusts  the  care  and  protection  of 
his  love,  Rachel,  to  his  nearest  friend,  Angelo. 

Scene  5:  The  irascible  Count  Ferneze  sets  the  household  in  an  uproar 
seeking  for  his  son  Paulo.  Onion  in  high  dudgeon,  and  cashiered. 
Juniper  intercedes  for  him.  Maximilian,  who  has  taken  offense  at 
Onion's  conduct,  yields  his  pardon.  Leave-taking  by  Maximilian  and 
Paulo.  Wit-combat  between  Aurelia  and  Angelo.  Maximilian  answers 
to  Count  Ferneze  for  Paulo's  safety,  and  hears  the  story  of  the  loss 
of  the  other  son,  Camillo. 

Scene  6:  Maximilian  goes  on  before.  Paulo  parts  from  Rachel,  commend- 
ing Angelo  to  her.     Jaques  appears. 


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Miss  ANNICE  BRADFORD  BUTTS,  A.  M.,  Principal 

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Miss  ELIZABETH  WALLACE   S*  Miss  EMMA   L.  BAIRD,  Principals 

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INCORPORATED,    AUGUST    to,    188b 


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ACT    II. 

Scene  i:  Soliloquy  of  Jaques,  who  tells  his  history  and  that  of  Rachel. 
Rachel  cautioned  against  housebreakers. 

Scene  2:  Onion  tells  Christophero  of  his  love  for  Rachel  and  asks  his 
help.  Christophero  resolves  to  seek  her  for  himself,  with  the  aid  of 
Count  Ferneze. 

Scene  3:    Aurelia  and  Phcenixella :  the  contrast  in  their  characters. 

Scene  4:  Further  wit-combats,  Aurelia  vs.  Angelo,  Phcenixella  vs.  Fran- 
cisco. 

Scene  [5] :     Count  Ferneze  twits  Angelo  with  his  flirtations. 

Scene  [6] :  Christophero  secures  Count  Ferneze's  furtherance  to  his  suit 
for  Rachel. 

Scene  [7] :  Humors  of  Juniper,  Onion,  and  the  servants.  Valentine  dis- 
courses on  the  theaters  of  Utopia  (England).  Cudgel-play  between 
Onion  and  Martino  in  which  the  former  gets  his  head  broken. 

ACT    III. 

Scene  1:    Angelo,  false  to  his  friend,  seeks  the  love  of  Rachel. 

Scene  2:     Christophero   entreats  Jaques  for  the  hand   of  Rachel.     Alarm 

of  Jaques  for  his  gold. 
Scene  3:     Count  Ferneze   himself,   finally,   comes   to   cut  out  his   steward 

and  win  the  hand  of  Rachel. 
Scene  4:     A  messenger  announces   to   Count   Ferneze  that  his  son   Paulo 

has  been  taken  prisoner  by  the  French.     This  cures  him  of  love.     He 

prepares  to  ransom  Paulo. 
Scene  5:    Jaques  the  miser  and  his  gold. 

ACT    IV. 

Scene  1:  Return  of  Maximilian,  with  his  prisoners  Chamont  and  Camillo. 
As  a  precaution  these  have  exchanged  names ;  so  that  Maximilian  is 
deceived  as  to  the  identity  of  each.  He  retains  Camillo  (Gasper), 
supposing  him  to  be  the  Lord  Chamont,  as  a  hostage,  and  determines 
to  send  off  the  real  Chamont  to  arrange  an  exchange  of  prisoners, 
Paulo  for  the  supposed  Chamont.  But  Pacue,  the  page,  knows  the 
secret.  The  two  French  prisoners  meet  the  count  and  his  daughters. 
Phcenixella  is  taken  with  Gasper,  Aurelia  with  Chamont. 

Scene  2:  Pacue  and  Finio,  the  pages,  practice  their  steps  to  the  admiration 
and  edification  of  Onion. 

Scene  3:  Parting  of  Chamont  from  Camillo.  The  former  promises  to 
return  on  the  day  set  and  redeem  his  friend. 

Scene  4:     Onion's  love-lunes.     He  gets  Juniper's  aid. 

Scene  5:  Angelo  tries  to  woo  Rachel  away  from  the  memory  of  Paulo. 
Onion  and  Juniper  interrupt.  Onion's  wooing.  The  return  of  Jaques, 
who  drives  Juniper  off,  while  Onion  unespied  hides  in  a  tree,  whence 
he  later  sees  Jaques  unearth  his  treasure,  gloat  over  it,  replace  it, 
and  depart.     Onion  and  Juniper  run  off  with  Jaques  gold. 

Scene  6:  Pacue  has  revealed  the  secret  of  the  identity  of  Camillo.  Count 
Ferneze  accuses  Maximilian  of  being  a  party  to  the  plot.     They  quarrel 

23 


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WASHINGTON,   LONDON 

24 


ACT   V. 

Scene  i:  Angelo  gets  Christophero  to  lure  Jaques  away  from  home  by 
dropping  gold  pieces  as  he  departs  and  calling  to  Jaques  to  follow. 
Whereupon  Angelo  gets  Rachel  to  follow  him  on  the  pretext  of  a 
message  from  Paulo  summoning  her.  Jaques  returns  and  discovers 
his  loss  of  both  gold  and  daughter. 

Scene  2:  Juniper  and  Onion,  roistering,  are  spending  their  loot  and  setting 
up  as  gentlemen.    They  are  baited  by  the  pages. 

Scene  3:  Angelo  woos  Rachel,  in  vain.  Paulo  returning  with  Chamont 
comes  upon  them,  rescues  Rachel,  and  discovers  Angelo's  treachery, 
whom,  however,  he  soon  pardons. 

Scene  4:  Camillo  is  condemned  to  execution  by  Count  Ferneze  because 
Chamont  has  not  returned  at  the  hour  appointed.  Execution  is  delayed 
by  the  irruption  of  Christophero  clamoring  for  his  lost  love  and  of 
Jaques  clamoring  for  his  gold;  the  Count  joins  his  clamors  for  his 
lost  son  to  theirs.  The  return  of  Paulo  is  announced  to  the  Count. 
They  enter.  Reunion  and  explanations.  Discovery  Scene:  Chamont 
hears  of  the  story  of  the  long  lost  son  and  proves  that  Gasper  is  he. 
Phoenixella  loses  a  lover  but  gains  a  brother. 

Jaques  demands  justice.  His  story  is  forced  from  him,  and  the 
identity  of  Rachel  with  Isabel,  the  long  lost  sister  of  Chamont,  is 
established.  Paulo  receives  her  hand,  while  Chamont  receives  Aurelia. 
Onion  and  Juniper  are  sent  to  punishment.    Maximilian  epiloguizes. 

R  I.  C 

THE  REPRODUCTION  OF  ELIZABETHAN 

PLAYS 

in  imitation  of  the  original  manner  of  staging,  chiefly  at  the  colleges 
and  in  the  hands  of  amateurs,  has  become  an  increasing  practice  in 
recent  years.  It  is  believed  that  the  present  is  the  first  public  per- 
formance of  this  sort  in  Chicago,  but  at  Harvard,  Yale,  Wellesley, 
Bryn  Mawr,  in  London,  and  elsewhere,  as  well  as  in  the  West  at 
Madison  and  at  Indianapolis,  such  performances  have  been  seen, — 
in  several  of  these  places  as  an  annual  custom. 

The  Elizabethan  Stage  Society  of  London  in  recent  years  has 
brought  out  Marlowe's  Faustus,  Arden  of  Feversham,  a  portion  of 
Edzvard  III,  Shakspere's  Tempest  in  the  original  form  at  the  Man- 
sion House,  Middleton's  The  Spanish  Gipsy,  and  the  morality  of 
Everyman.  In  America  the  following  have  been  seen  (our  list  is 
incomplete  and  subject  to  correction)  :  At  Harvard,  Ben  Jonson's 
Epicoene,  or  the  Silent  Woman,  Dekker's  The  Shoemaker's  Holi- 
day, Fletcher's  The  Maid  in  the  Mill,  Fletcher  and  Massinger's  The 
Elder  Brother,  Hey  wood's  Fortune  by  Land  and  Sea,  and  others, — 
although  many  of  these  have  been  private  performances. 

At  Tuft's  College,  The  First  Shepherd's  Play  in  the  Towneley 
Cycle  of  mystery  plays ;  also  Milton's  Comus. 

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At  Yale  The  Secunda  Pagina  Pastorum,  Ralph  Roister  Doister, 
Heywood's  Fair  Maid  of  the  West,  and  one  or  two  plays  of  a  later 
period. 

At  Bryn  Mawr  Peele's  The  Arraignment  of  Paris,  and  parts  of 
various  plays. 

At  Mt.  Holyoke  The  Arraignment  of  Paris,  Fletcher's  Faithful 
Shepherdess  (adapted),  and  the  Noah  pageant  in  the  Towneley 
series. 

At  Smith  College  and  at  Wellesley  College  annual  performances 
of  Shaksperean  plays, — usually  an  out-door  comedy.  At  Wellesley 
also  the  morality-play  of  The  Marriage  of  Wit  and  Science,  Lily's 
Campaspe,  and  Fletcher's  Knight  of  the  Burning  Pestle. 

At  Butler  College  The  Shoemaker's  Holiday. 

At  the  University  of  Cincinnati  The  Knight  of  the  Burning 
Pestle. 

Other  performances,  doubtless  a  considerable  number  in  all,  have 
been  given  at  other  places  and  by  various  private  clubs, — such  as 
The  Tavern  Club  of  Boston,  which  has  acted  the  morality  of  Nice 
Wanton,  and  other  plays. 

A  few  of  the  old  plays,  such  as  Jonson's  Every  Man  in  His 
Humor,  Massinger's  A  New  Way  to  Pay  Old  Debts,  and  Webster's 
The  Duchess  of  MalU  have  been  presented  on  the  public  stage  dur- 
ing the  past  century,  but  of  course  not  in  the  original  manner. 

Many  others  are  equally  available  and  should  be  given.  Such 
as  Kyd's  Spanish  Tragedy,  a  rattling  specimen  of  Elizabethan  melo- 
drama ;  Fletcher's  Two  Noble  Kinsmen,  full  of  fine  declamation  and 
romantic  effects ;  Day's  Humor  Out  of  Breath,  sparkling,  lively, 
romantic  comedy;  Webster's  Love's  Graduate,  Fletcher's  Spanish 
Curate,  and  The  Chances,  Randolph's  Amyntas,  Field's  Woman 
is  a  Weather  Cock,  Ford's  Perkin  Warbeck,  Dekker's  Old  Fortun- 
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A  TWENTIETH  CENTURY  AMERICAN  AT  THE 
THEATER  OF  ELIZABETH. 

How  it  happened  that  I,  an  American  of  the  twentieth  century, 
found  myself  set  down  in  St.  Paul's  church,  London,  in  the  year 
1599  is  a  matter  of  no  consequence  now — there  I  was,  in  an  un- 
comfortable, tightly-fitting  suit  of  modest  color,  such  as  the  major- 
ity of  my  companions  were  wearing,  but  with  the  thoughts  and 
speech  of  a  Chicago  citizen.  St.  Paul's  was  a  sight — it  looked  more 
like  a  railway  station  than  anything  else.  Crowds  of  people  thronged 
through  the  aisles,  not  to  worship — no,  indeed — anything  rather 
than  that.  Merchants  were  making  bargains,  friends  were  keeping 
appointments.  Servingmen,  waiting  for  a  possible  employer,  stood 
beside  bills  they  had  stuck  up  setting  forth  their  virtues;  up  and 
down  the  middle  aisles,  where  all  could  see  them,  strutted  in  rich 
silk  suits  the  young  swells,  perfumed  and  bejeweled,  and  with  their 
hair  curled  and  scented;  they  looked  like  gay  young  roosters  ruf- 
fling before  the  crowd  of  barnyard  inhabitants. 

As  I  stood  gawking  about  like  a  countryman  on  State  street,  a 
well-dressed  young  man  affably  saluted  me,  and,  though  at  first  I 
had  great  difficulty  in  understanding  him,  we  were  soon  in  a  friendly 
conversation;  when  he  discovered  that  I  was  a  stranger  he  proposed 
that  I  accompany  him  to  dinner  and  then  to  a  play. 

We  passed  out  of  the  church  into  the  yard  where  the  book- 
sellers' stalls  swarmed.  The  streets  were  narrow  and  crooked  and, 
tho'  paved,  dirtier  than  Chicago's.  Worse  than  that,  there  were  no 
sidewalks.  When  we  met  a  young  nobleman  or  a  swaggering 
soldier  we  had  to  step  out  from  the  wall  into  the  center  of  the  street, 
where  the  mud  was  deeper;  when  we  met  a  person  lower  in  rank 
than  we  he  had  to  give  us  the  wall.  Rotting  garbage  lay  in  piles 
in  the  road,  and  once  we  nearly  were  drenched  with  the  slop  a  maid 
was  throwing  from  an  upper  window.  The  houses  stood  close  to 
the  road,  and  had  generally  a  store  beneath,  while  above  the  family 
of  the  merchant  lived. 

After  the  dinner  at  the  "ordinary,"  as  my  companion  called  the 
restaurant  we  went  to,  he  told  me  we  should  have  to  hurry  as  the 
play  began  at  two.  As  I  found  out  later  this  was  no  matinee  either, 
but  all  performances  were  in  the  daytime  except  those  given  at 
feasts,  at  the  palace  or  some  nobleman's  house.  As  we  went  along 
my  attention  was  called  to  the  various  posts  along  the  road  on 
which  were  put  up  little  bills,  with  no  loud  pictures  with  glaring 
colors  such  as  I  remembered  only  too  well,  but  only  mild  little 
advertisements  of  the  plays  of  the  day.    As  we  approached  the  river 

29 


RUSH    MEDICAL    COLLEGE 

IN  AFFILIATION  WITH 

THE  UNIVERSITY  OF  CHICAGO 


Rush  Medical  College  and  the  University  of  Chicago  offer  to  students 
of  either  sex  a  four  years'  course  leading  to  the  degree  of  M.  D. 

At  the  University  of  Chicago.  The  first  two  years  are  given  at 
the  University  in  the  spacious  Hull  Biological  Laboratories  and  the 
Kent  Chemical  Laboratory.  Instruction  is  given  in  Anatomy,  both 
gross  and  microscopic,  Neurology,  Embryology,  Physiology,  Physio- 
logical Chemistry,  Pharmacology,  Chemistry,  Physics,  Bacteriology 
and  Pathology. 

Six  Years'  Course  for  the  Degrees  of  B.  S.  and  M.  D.  The 
work  of  the  Senior  College  (junior  and  senior  years)  at  the  University 
is  elective,  and  the  student  may  elect  for  the  last  two  years  of  the 
course  leading  to  the  degree  of  B.  S.f  work  in  the  sciences  fundamental 
to  medicine,  which  fully  covers  the  work  of  the  first  two  years  of  the 
medical  curriculum  ;  at  least  three  majors  of  Philosophy  and  History 
must  be  taken  in  order  to  complete  the  course  for  the  degree  of  B.  S.; 
thus  the  two  degrees  may  be  secured  in  six  years.  Credits  are  accept- 
ed for  similar  work  successfully  completed  at  other  recognized  colleges. 

At  Rush  Medical  College.  Only  the  last  two  or  clinical  years  of 
the  medical  course  are  given  at  Rush  Medical  College.  The  Central 
Free  Dispensary  and  Presbyterian  Hospital,  together  with  the  Cook 
County  Hospital,  West  Side  Hebrew  Dispensary  and  other  hospitals, 
furnish  abundant  clinical  facilities  for  practical  work  in  Medicine,  Sur- 
gery, Obstetrics,  and  the  several  special  clinical  branches  of  medicine. 

The  Quarterly  System.  The  college  year  is  divided  into  quarters, 
beginning  respectively  June  19,  and  on  the  first  day  of  October, 
January  and  April. 

The  requirements  for  admission  for  the  session  beginning  June  1 9, 
1 902,  comprise  the  completion  of  a  four  years'  high  school  course  and 
one  year  in  college;  in  lieu  of  the  latter,  however,  six  majors  (two 
quarters)  of  work  at  the  University  of  Chicago  will  be  accepted. 
Students  who  have  completed  a  four  years'  high  school  course  but  have 
had  no  work  in  a  college  or  university,  are  especially  recommended  to 
enter  at  the  beginning  of  the  summer  quarter,  June  19,  1902.  Full 
information  will  be  furnished  on  application  to 


RUSH      MEDICAL     COLLEGE      OR 
THE    UNIVERSITY    OF    CHICAGO 

CHICAGO,  ILLINOIS 


30 


the  crowds  increased,  and  when  we  reached  the  bank  we  had  some 
difficulty  in  finding  a  boatman  to  take  us  across.  As  we  stood  on 
the  quay  I  noticed  one  of  these  bills  which  announced  the  "Mer- 
chant of  Venice"  at  the  Globe  theater.  That  settled  where  we  were 
to  go,  for  I  remembered  how  Irving  did  it,  and  I  wanted  to  com- 
pare the  old  and  the  new.  As  we  crossed  the  river  I  was  shown 
the  Tower,  St.  Paul's  and  the  new  Blackfriars  theater  behind  me, 
while  on  the  "bank  side"  where  we  were  going  I  could  see  various 
queer  octagonal  and  round  buildings  sticking  up  among  the  trees. 
My  acquaintance  explained  to  me  that  so  many  of  the  theaters  were 
over  here  because  the  city  government  was  opposed  to  plays  and 
was  always  interfering.  Many  of  the  companies,  therefore,  played 
just  outside  tke  city  limits.  For  the  same  reason  all  the  evil  char- 
acters of  the  town  lived  there — as  in  our  "Bad  Lands."  As  we 
crossed  the  river  we  passed  many  swans  swimming  about  and  many 
boatmen,  who,  as  they  went  up  or  down,  cried  out  "Westward  Ho"; 
"Eastward  Ho." 

The  theater  stood  close  to  the  bank.  There  was  a  great  crowd 
rushing  in  at  the  doors,  and  we  joined  the  throng.  At  first  I  could 
not  understand  a  very  strong  odor,  but  I  was  told  that  it  came 
from  the  "bearbaiting"  house  near  by,  which  was  as  popular  as 
vaudeville  is  with  us,  and  drew  tremendous  crowds.  The  theater 
building  was  a  big  octagonal  tower,  with  only  two  little  doors,  and 
into  these  the  crowd  were  pouring  as  fast  as  men  with  boxes  held 
out  would  let  them.  Up  on  top  of  the  building  were  stuck  three 
little  huts,  from  one  of  which  a  flag  hung — to  indicate  that  there 
was  to  be  a  play  that  day.  As  we  stood  waiting  a  man  blew  a 
trumpet  from  this  turret  and  the  crush  became  all  the  worse,  for 
this  meant  that  the  play  was  about  to  begin.  All  this  information 
from  my  friend.  I  expected  we  should  get  tickets,  but  instead  we 
simply  put  a  penny  each  in  the  doorkeeper's  box  and  then  found 
ourselves  in  a  narrow  passage  which  finally  opened  into  a  large, 
round,  open  place.  I  was  never  more  surprised.  We  were  close 
beside  the  stage,  which  was  nothing  but  a  big  bare  platform  which 
was  covered  with  rushes  and  jutted  out  into  the  middle  of  the  pit. 
The  pit  itself  had  no  floor  but  the  hard  packed  earth  and  no  roof 
but  the  sky.  It  was  nearly  full  of  dirty,  swearing,  fighting  appren- 
tices and  the  coarsest  kind  of  laboring  men.  They  were  eating  nuts 
and  apples  while  they  waited  for  the  play  to  begin,  and  making 
coarse  jests  on  each  other  and  the  people  about.  I  was  tired  and 
looked  about  for  a  seat,  but  there  was  none.  All  in  the  pit  had  to 
stand  throughout  the  play.  That  was  too  much  for  me,  so  we  went 
up  a  flight  of  stairs,  paying  another  penny  at  the  foot,  and  then, 

31 


University  of  Chicago 
School    of  Law 

THE  NEWLY   ESTABLISHED   SCHOOL  OF  LAW  WILL  BE  OPENED  ON   OCT.    1ST. 


Requirement  for  Admission: 
i  To  professional  curriculum,  completion  of  three 
years  of  college  work  2  To  pre  -  legal  curriculum, 
completion    of    two    years     of    college    work 


THE  SCHOOL  IS  THE  ONLY  LAW  SCHOOL  IN  THE  WEST  REQUIRING 
COLLEGE  EDUCATION  OF  STUDENTS  SEEKING  A  DEGREE. 
The  degree  of  Ph.  B.  is  given  at  the  end  of  the  first  year  of  the  professional  cur- 
riculum. Provision  made  for  admission  of  special  students  not  candidates  for 
degrees.  During  the  year  1902-3  courses  will  be  given  covering  the  full  three 
years'  curriculum,  so  that  second  and  third  year  law  students,  otherwise  quali- 
fied, may  enter,  receiving  credit  for  work  previously  done.  The  Law  School  will 
be  located  on  the  University  quadrangle.  It  will  be  equipped  with  a  complete 
library  of  American  and  English  reports,  statutes,  treatises,  periodicals,  etc". 


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after  paying  ten  pence,  I  think  it  was,  we  went  into  a  box,  where 
there  were  seats  at  least.  This  box  was  in  the  first  tier  of  gal- 
leries; there  were  three,  one  above  the  other,  and  projecting,  not 
receding,  as  to-day. 

After  we  were  comfortably  seated  I  had  a  chance  to  look  around. 
They  completely  surrounded  the  pit  with  its  swearing  multitude. 
I  could  well  understand  why  all  the  dramatists,  Shakespeare  in- 
cluded, hated  the  mob,  and  why  the  pit  is  in  England  often  still  con- 
sidered to  be  an  undesirable  place  to  sit.  The  stage  consisted  of  a 
projecting  platform,  but  with  an  iron  fence  around  it  to  keep  the 
mob  off;  behind  the  platform  was  a  curtain  and  above  a  balcony. 
Over  the  whole,  and  reaching  out  part  way  over  the  front  stage,  was 
a  roof  supported  by  two  pillars,  above  which  again  were  the  little 
turrets.  My  friend  explained  that  in  many  plays  there  were  charac- 
ters, gods,  goddesses,  etc.,  who  were  supposed  to  ascend  to  heaven 
— these  turrets  were  what  they  ascended  into. 

The  stage  was  nearly  full  of  people  when  we  entered,  and  I 
fancied  that  the  play  must  have  begun.  But  they  were  only  specta- 
tors— some  poorly  dressed,  who  were  dramatists  and  so  given  free 
admission,  or  stenographers  there  to  copy  the  play  for  some  pirate 
publishers;  some  magnificently  attired — my  young  fops  of  the 
(morning,  but  in  different  suits,  who  sat  or  lay  on  the  stage  in  a 
posture  best  suited  to  display  their  clothes  and  their  figures.  All 
of  them  were  smoking — and  there  were  few  women  to  complain, 
I  noted.  My  friend  said  that  very  few  women  of  the  better  classes 
ever  attended  this  theater. 

I  wondered  how  these  people  got  in  upon  the  stage,  but  I 
learned  that  they  came  through  the  dressing-room  of  the  actors. 
The  actors  and  audience  both  objected  very  much,  but  there  was 
no  help  for  it;  then  I  remembered  that  I  had  read  years  before — 
or  should  I  say  after — that  the  custom  was  not  abolished  till  after 
the  Restoration,  when  it  was  forbidden  by  law. 

As  we  sat  waiting  for  the  play,  fruits,  pamphlets,  ballads,  etc., 
were  all  offered  to  us  for  purchase,  but  no  ushers  came  with  pro- 
grammes. Then  for  the  first  time  I  saw  the  use  of  some  placards 
on  the  stage.  On  one  pillar  hung  the  title,  "The  Merchant  of 
Venice";  on  the  other — the  scene  of  the  main  action — "Venice." 
This  was  not  to  take  the  place  of  scenery,  but  of  playbills. 

Presently  the  orchestra,  a  large  one  of  ten  pieces — the  best  in 
London  I  was  told — began  to  play;  but  they  were  not  in  front  of 
the  stage — as  how  could  they  be  among  the  crowd — but  up  in  the 
second  row  of  boxes  close  to  the  stage.  Then  a  man  appeared  in 
the  turret  and  blew  a  call  with  his  trumpet;   immediately  the  cur- 

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34 


tains  parted  enough  to  allow  an  actor  to  appear,  clad  in  a  long  black 
cloak  and  with  a  wreath  on  his  head,  who  spoke  the  prologue.  This 
quieted  the  crowd  so  that  when  Antonio  entered  with  his  friends  all 
could  hear  him. 

The  scene  was  played  before  the  closed  curtains;  this  at  first 
seemed  odd,  but  one  soon  perceived  that  the  scene  was  some  public 
place  in  Venice,  and  that  was  all  one  needed  to  know.  The  cos- 
tumes of  the  actors  were  extremely  handsome  and  rich;  my  com- 
panion told  me  that  the  players  bought  many  of  them  from  the 
servants  of  great  lords,  who  gave  them  to  their  men  as  perquisites. 
Perhaps  you  imagine  that  without  scenery  the  stage  must  have 
seemed  empty  and  uninteresting,  but  actually  it  was  not,  for  the 
crowd  of  noblemen  gave  it  life  and  color.  The  actors  stood  right 
amongst  them,  so  close  that  now  and  then  a  fop  would  reach  out 
to  feel  the  quality  of  Antonio's  or  Bassanio's  suit. 

The  second  scene,  in  Portia's  house,  was  most  surprising  to 
me.  The  curtains  slowly  parted  and,  behold,  a  little  room.  There 
were  chairs  standing  about — a  table  in  one  corner  and  the  rear  of 
the  stage  covered  by  a  hanging  curtain  or  arras,  on  which  were 
painted  faces  and  proverbs.  Indeed  it  was  a  very  good  reproduc- 
tion of  an  Elizabethan  room.  But  more  surprising  were  the  actors 
— Portia  and  Nerissa  were  handsome  young  boys.  At  once  I 
asked  my  friend  why  they  were  not  women,  but  he  laughed  at  the 
suggestion  and  said  that  the  boys  did  a  thousand  times  better.  Then 
I  remembered  to  have  read  that  the  first  actresses  were  hooted  off 
the  stage,  and  that  for  many  years  men  were  thought  to  play  the 
female  parts  much  better  than  women. 

At  the  end  of  the  scene  the  curtain  closed  and:  again  we  were 
in  Venice.  You  see  there  were  never  any  waits  for  the  changing 
of  scenery,  and  the  scenery  was  always  subordinate  to  the  players. 
Here,  too,  I  understood  why  so  many  of  Shakespeare's  scenes  close 
with  an  "exeunt."  That  was  the  only  way  to  get  people  off  the 
front  stage.  In  Elizabethan  plays  one  could  not  end  with  a  situa- 
tion, as  ours  do. 

This  third  scene  introduced  Shylock — the  great  Burbage,  who 
played  all  the  great  parts  of  Shakespeare's  plays.  And  here  I  noted 
another  curious  thing — how  the  audience  took  part  in  the  play; 
they  cheered  or  they  hissed  as  the  feeling  seized  them.  If  any  actor 
displeased  them  they  pelted  him  with  nuts  and  apple  cores.  So 
you  can  imagine  how  Burbage  had  to  play — to  hold  this  rough  mob 
in  check.  Some  of  the  actors,  my  companion  said,  prevailed  by 
bellowing,  and  ranting,  but  the  Lord  Chamberlain's  company,  who 
played  here,  avoided  such  methods. 

35 


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It  was  plain  to  be  seen  all  through  this  scene  how  the  audience 
hated  the  Jews,  and  when  Antonio  defied  Shylock  the  applause  was 
immense.  But  still  the  crowd  did  enjoy  Shylock's  craft  and  shrewd- 
ness, and  hissed  him  well  and  vigorously  to  show  that  they  appre- 
ciated his  rascality. 

Between  the  acts  there  was  a  lot  of  vaudeville  performance — 
singing,  dancing  and  tumbling.  Along  in  the  second  act  there  was 
a  heavy  shower,  and  I  thought  the  play  would  stop.  But  no,  the 
men  on  the  stage  crowded  back  under  the  roof;  we  in  the  boxes 
also  moved  away  from  the  front  where  stray  drops  fell;  the  actors 
also  stayed  beneath  the  roof,  but  the  men  in  the  pit  let  the  rain  beat 
down  upon  them  and  applauded  as  lustily  as  ever. 

The  scenes  before  Shylock's  house  were  also  in  the  rear  stage, 
but  then  the  hangings  had  been  removed  and  Jessica  stood  in  the 
balcony  above,  and  it  was  from  there  she  threw  down  the  box  of 
ducats. 

The  court-room  scene  was  a  great  one  of  course,  but  the  prepara- 
tions were  quite  as  interesting.  While  the  vaudeville  part  was 
going  on  a  sharp  noise  of  creaking  was  heard  and  the  pit  began 
to  applaud.  Then  I  saw  the  Duke's  throne  slowly  being  let  down 
from  the  little  hut  above  to  the  stage.  It  was  soon  hidden  behind 
the  curtain,  which  soon  drew,  and  the  scene  began.  This  old 
theater  had  fewer  people  to  represent  the  crowd  in  the  court-room 
than  Irving  had,  but  it  didn't  need  so  many,  for  the  nobles  on  the 
stage  helped  fill  the  stage.  The  joy  of  the  mob  at  Shylock's  dis- 
comfiture was  great,  and  nobody  seemed  to  be  sorry  for  him.  That 
is  our  modern  addition. 

The  last  act  is  at  night,  you  will  remember.  I  wondered  how 
that  could  be  shown  when  the  sun  at  that  very  moment  was  flood- 
ing the  whole  stage  with  warm  light.  But  it  was  very  simple — the 
servants  brought  in  torches — that  was  all,  and  at  once  every  one 
knew  that  the  stage  was  in  darkness. 

The  scene  went  merrily  on,  until  suddenly,  as  I  sat  laughing  at 
Portia's  wiles,  all  began  to  grow  dim.  The  gay  Elizabethans  faded 
away,  and  instead  of  the  old  sixteenth-century  England  I  found 
myself  back  in  the  Chicago  of  the  twentieth  century.        G.  F.  R. 


37 


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CHARLES    LAMB,  APROPOS  OF  JAQUES'    SOLILOQUY 
OVER  HIS  GOLD-HOARD. 

The  passion  for  wealth  has  worn  out  much  of  its  grossness  by 
tract  of  time.  Our  ancestors  certainly  conceived  of  money  as  able 
to  confer  a  distinct  gratification  in  itself,  not  alone  considered  sim- 
ply as  a  symbol  of  wealth.  The  oldest  poets,  when  they  introduce 
a  miser,  constantly  make  him  address  his  gold  as  his  mistress;  as 
something  to  be  seen,  felt,  and  hugged;  as  capable  of  satisfying 
two  of  the  senses  at  least.  The  substitution  of  a  thin,  unsatisfying 
medium  for  the  good  old  tangible  gold  has  made  avarice  quite  a 
Platonic  affection  in  comparison  with  the  seeing,  touching  and 
handling  pleasures  of  the  old  Chrysophilites.  A  bank-note  can  no 
more  satisfy  the  touch  of  a  true  sensualist  in  this  passion  than 
Creusa  could  return  her  husband's  embrace  in  the  shades. 


ARGUMENTS  OF  THE  "CAPTiVI"  and  "AULULARIA"  OF 
PLAUTUS,  ON  WHCH  JONSON  FOUNDED  HIS  PLOT. 

Hegio,  a  wealthy  native  of  Aetolia,  had  two  sons,  one  of  which 
was  stolen  by  a  slave  when  four  years  old,  and  being  carried  away 
to  Elis,  was  sold  there ;  the  father  being  unable  for  many  years  to 
learn  what  has  become  of  him.  A  war  having  commenced  between 
the  Eleans  and  the  Aetolians,  Philopolemus,  the  other  son  of  Hegio, 
is  taken  prisoner  by  the  Eleans.  The  Aetolians  having  taken  many 
Elean  prisoners,  Hegio  commences  to  traffic  in  captives,  with  the 
view  of  thereby  redeeming  his  son  from  the  Eleans,  in  exchange  for 
some  pris  ner  of  rank.  At  this  conjuncture  the  play  commences. 
Among  the  captives  whom  Hegio  has  purchased,  Philocrates  is  one, 
having  been  taken  prisoner,  together  with  his  servant,  Tyndarus. 
With  the  object  of  deceiving  Hegio,  Philocrates  and  Tyndarus 
change  their  clothes,  and  having  exchanged  names  as  well,  Philo- 
crates pretends  to  be  the  servant  of  Tyndarus.  Hegio  being  desirous 
to  procure  the  exchange  of  his  son,  Philocrates  (in  the  character 
of  the  servant  of  his  fellow-captive),  is  sent  to  Elis  for  that  pur- 
pose. After  his  departure  Aristophontes,  another  captive,  acci- 
dentally puts  Hegio  in  the  way  of  discovering  the  manner  in  which 
he  has  been  deceived.  On  this,  the  old  man,  losing  all  hope  of 
obtaining  the  liberation  of  his  son,  sends  Tyndarus  in  chains  to  the 
stone-quarries.  Shortly  after,  Philocrates  returns,  and  brings  with 
him  Philopolemus,  the  son  of  Hegio,  and  Stalagmus,  the  runaway 
slave,  that  had  stolen  his  other  son.  It  is  then  discovered  that  Sta- 
lagmus had  sold  the  child  to  the  father  of  Philocrates,  and  that  he 

39 


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is  no  other  than  Tyndarus,  the  slave;  on  which,  Tyndarus  is  sent 
for,  and  is  informed  that  he  is  the  lost  son  of  Hegio.  Stalagmus 
is  then  condemned  to  the  chains  from  which  Tyndarus  is  liberated. 

THE    AULULARIA. 

Euclio,  a  miserly  old  Athenian,  has  a  daughter  named  Phaedra, 
who  has  been  injured  by  a  young  man  named  Lyconides,  but  is 
ignorant  from  whom  she  has  received  the  injury.  Lyconides  has 
an  uncle  named  Megadorus,  who,  being  ignorant  of  these  circum- 
stances, determines  to  ask  Phaedra  of  her  father,  in  marriage  for 
himself.  Euclio  has  discovered  a  pot  of  gold  in  his  house  which 
he  watches  with  the  greatest  anxiety.  In  the  meantime,  Megadorus 
asks  his  daughter  in  marriage,  and  his  proposal  is  accepted;  and 
while  preparations  are  making  for  the  nuptials,  Euclio  conceals  his 
treasure,  first  in  one  place  and  then  in  another.  Strobilus,  the  serv- 
ant of  Lyconides,  watches  his  movements,  and,  having  discovered 
it,  carries  off  the  treasure.  While  Euclio  is  lamenting  his  loss, 
Lyconides  accosts  him,  with  the  view  of  confessing  the  injury  he 
has  offered  his  daughter,  and  of  announcing  to  him  that  his  uncle, 
Megadorus,  has  cancelled  his  agreement  to  marry  her,  in  favor  of 
himself.  Euclio  at  first  thinks  that  he  has  come  to  confess  the  rob- 
bery of  the  treasure.  After  much  parleying,  his  mistake  is  rectified, 
and  the  matter  is  explained;  on  which  Lyconides  forces  Strobilus 
to  confess  the  theft;  and  (although  the  rest  of  the  play  in  its  orig- 
inal form  is  lost)  we  learn  from  the  acrostic  argument  that  Strobilus 
gives  up  the  treasure,  and  Lyconides  marries  the  daughter  of  Euclio, 
and  receives  the  gold  for  a  marriage  portion. 


Stage  Directions  in  Elizabethan  Plays  often  help  us  to 
understand  the  peculiar  conditions  of  the  theatre  of  the  age  of  Jon- 
son.    A  few  specimens  from  various  sources  are  given  below : 

Enter  Brachiano's  ghost,  in  his  leather  cassock  and  breeches,  and 
boots;  in  his  hand  a  pot  of  lily-flozvers,  with  a  skull  in  't. 

[Webster's  The  White  Devil. 

Let  the  trumpet  leave  sounding  and  let  the  Herald  speak,  and 
Clytemnestra  speak  over  the  wall. — [Horestes. 

After  you  have  sounded  thrice  let  Venus  be  let  down  from  the 
top  of  the  stage.  *  *  *  Let  there  be  a  brazen  head  set  in  the 
middle  of  the  place  behind  the  stage  out  of  which  cast  flames  of  fire; 
drums  rumble  within.     *     *     * 

Exit  Venus,  or  if  you  can  conveniently  let  a  chair  come  down 
from  the  top  of  the  stage  and  draw  her  up. 

[Greene's  Alphonsus. 

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Enter  a  zvoman  zvith  a  shoulder  of  mutton  on  a  spit,  and  a 
devil.     *     *     * 

Enter  a  devil  and  carry  [away~\  Bungay  on  his  backe.     *     *     * 

Here  Bungay  conjures  and  the  tree  appears  with  the  dragon 
shooting  tire.  Hercules  begins  to  break  the  branches.  Exit  the 
Spirit  with  the  tree.     *     *     * 

Enter  Friar  Bacon  drazving  the  curtain  zvith  a  white  stick,  a  book 
in  his  hand  and  a  lampe  lighted  by  him,  and  the  brazen  Head.  *  *  * 

He  falls  asleep,  knocks  his  head  against  the  post,  wakes,  thinks 
the  head  has  spoken. 

Here  the  Head  speaks  and  a  lightning  Hasheth  forth  and  a  hand 
appears  that  breaketh  down  the  Head  with  a  hammer.     *     *     * 

Exeunt  the  devil  roaring  [zvith  Miles  on  his  back]  because  Miles 
has  spurred  him  with  a  will. 

[Greene's  Friar  Bacon  and  Friar  Bungay. 

Enter,  brought  in  by  an  angel,  Oseas  the  prophet  and  set  dozvn 
over  the  stage  in  a  throne.     *     *     * 

"Shut  close  these  curtains  straight  and  shadow  me."  They  draw 
the  curtain. 

"The  Magi  zvith  their  staves  beat  the  ground  and  from  under  the 
same  riseth  a  brave  arbor.    Lightning  and  thunder." 

A  flame  of  fire  appeareth  from  beneath  and  Radagon  is  swal- 
lowed [up]. 

Jonah  the  Prophet  is  cast  out  of  the  whale's  belly  upon  the  stage. 

A  hand  from  out  a  cloud  threatneth  with  a  burning  sword. 
[Lodge,  etc.,  Looking  Glass  for  London. 

Sounding  the  music,  there  rose  three  fairies  from  under  the  stage 
apparelled  accordingly  zvith  snakes  and  flames  about  their  black  hair 
and  garments.  [Misfortunes  of  Arthur. 

Enter  to  the  zvell  for  water.  A  head  comes  up  with  ears  of  corn 
and  she  combs  them  in  her  lap.  A  second  head  comes  up  full  of 
gold,  which  she  combs  into  her  lap.        [Peele,  Old  Wives'  Tale. 

Thunder  and  lightning.    Jupiter  descends  in  a  cloud. 

Juno  and  Iris  descend  from  the  heavens. 

Jupiter  appears  in  his  glory  under  a  rainbow. 

Enter  Pluto,  his  chariot  drawn  in  by  devils. 

Mercury  flies  from  above. 

Earth  rises  from  under  the  stage. 

Enter  Semele,  drazvn  out  in  her  bed. 

Thunder,  lightnings.  Jupiter  descends  in  his  maiesty,  his  Thun- 
derbolt burning. 

As  he  touches  the  bed  it  fires  and  all  flyes  up.  Jupiter  taking  up 
the  infant  speakes  as  he  ascends  in  his  cloud. 

43 


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44 


Hercules  sinks  himself;  flashes  of  fire;  the  devils  appear  at 
every  corner  of  the  stage  with  several  fire-works ;  fire-works  all  over 
the  house.  [Heywood,  Silver  Age  [a  masque]. 

SCRAPS  FROM   OLD  PLAYS,  ILLUSTRATIVE  OF  THE  STAGE. 

Somebody 
Once  pickt  a  pocket  in  this  Play-house  yard, 
Was  hoisted  on  the  stage,  and  sham'd  about  it. 

[Anon.,  Nobody  and  Somebody,  c.  1592. 

Sir  Maurice  Lacy.    Is  there  ought  else  to  be  demanded? 
Anne.    Yes,  sir;  mine  own  doctor, 
French  and  Italian  cooks,  musicians,  songsters, 
And  a  chaplain  that  must  preach  to  please  my  fancy ; 
A  friend  at  court  to  place  me  at  a  masque; 
The  private  box  ta'en  up  at  a  new  play. 
For  me  and  my  retinue;  a  fresh  habit, 
Of  a  fashion  never  seen  before,  to  draw 
The  gallants'  eyes,  that  sit  on  the  stage,  upon  me; 
Some  decayed  lady  for  my  parasite,  to  flatter  me  and  rail  at 

other  madams; 
And  there  ends  my  ambition. 

[Massinger,  The  City  Madam,  c.  1632. 

I  am  on  the  stage, 

And  if  now,  in  the  scene  imposed  upon  me, 

So  full  of  change — nay,  a  mere  labyrinth 

Of  politic  windings — I  show  not  myself 

A  Protean  actor,  varying  every  shape 
With  the  occasion,  it  will  hardly  poise 
The  expectation. 


Where  lies  the  scene  now? 
Though  the  hangings  of  the  stage  were  congealed  gore, 
The  chorus  flinty  executioners, 
And  the  spectators,  if  it  could  be,  more 
Inhuman  than  Flaminius,  the  cue  given, 
The  principal  actor's  ready. 

[Massinger,  Believe  as  You  List,  1631. 

Well  done,  Balthazar ;  hang  up  the  title. 
Our  scene  is  Rhodes  ;  what,  is  your  beard  on  ? 

[Kyd,  Spanish  Tragedy,  1594. 

45 


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Fine  imported  brandy. 

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Alpine  Swiss  Bitters. 

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46 


I'll  stand  here 
Like  the  picture  of  Dame  Fortune 
Before  the  Fortune  playhouse. 

[Hey wood,  English  Traveller. 

(In  Cambises  when  a  man  is  wounded 
"A  little  bag  of  vinegar  is  prickt"  for  blood.) 
Now  draw  the  curtain  for  our  scene  is  done. 

[Tancred  and  Gismund. 

The  faces  in  the  hangings  and  they  [the  spectators]  beheld  alike. 

[Jonson,  New  Inn. 

GALLANTS    SITTING   UPON    THE   STAGE. 

Enter  W.  Sly,  a  Tire-man  following  him  with  a  stool. 

Tire-man.     Sir,  the  gentlemen  will  be  angry  if  you  sit  here. 

Sly.  Why,  we  may  sit  upon  the  stage  at  the  private  house. 
Thou  dost  not  take  me  for  a  country  gentleman,  dost?  Dost  think 
I  fear  hissing?  I'll  hold  my  life  thou  tookest  me  for  one  of  the 
players. 

Tire-man.    No,  sir. 

Sly.  By  God's  lid,  if  you  had,  I  would  have  given  you  but  six- 
pence for  your  stool.  Let  them  that  have  stale  suits  sit  in  the  gal- 
leries. Hiss  at  me!  He  that  will  be  laughed  out  of  a  tavern  or  an 
ordinary  shall  seldom  feed  well  or  be  drunk  in  good  company. — 
Where's  Harry  Condell,  Dick  Burbadge,  and  William  Sly?  Let  me 
speak  with  some  of  them. 

Tire-man.    An't  please  you  to  go  in,  sir,  you  may. 

Sly.  I  tell  you,  no;  I  am  one  that  hath  seen  this  play  often, 
and  can  give  them  intelligence  for  their  action ;  I  have  most  of  the 
jests  here  in  my  tablebook. 

(Enter  Sinklo.) 

Sinklo.    Save  you,  coz! 

Sly.    O,  cousin,  come,  you  shall  sit  between  my  legs  here. 

Sinklo.  No,  indeed,  cousin;  the  audience  then  will  take  me 
for  a  viol-de-gambo,  and  think  that  you  play  upon  me. 

[Marston,  The  Malcontent. 


47 


What  ye  Towne  Cryer  Sayes   About 

Te  New6  Northern 
Turkish  Baths 

14  Quincy  Streete 

C  hie  ago 


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Vkluelheye  TK 


Write  for 
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HetJuV  &r\d  Oymmetrie-toe  be  $otle i> 
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IrWkilled  Oentilmen  le/fiiy'tn&if'in 
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1oe  thir  De^uiiefull  pLee  doth'  nowe 
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dewlopemenl*  system  of  ^xerciyey-WII 
hi/  owen-^ye  which*,  in  &.  m*.rv4lloiJL/Iie 
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Simon's    Natural    Developemente   System 

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48 


Miss  Grace  Warren 


Miss  Gordon 
Queen  Elizabeth 


Miss  Ethel  Remick 


49 


ON  every  fashionable  boulevard,  every  famous  avenue  and  drive, 
the  number  of  vehicles  bearing  the  Studebaker  name-plate  is 
evidence  of  their  superiority.  Each  is  the  product  of  a  half 
century  of  continuous  improvement.  Since  1852,  father  and  son,  through 
three  generations  of  workmen,  have  striven  to  shape  perfect  wood  and 
steel  into  vehicles,  combining  elegance  of  design  with  durability.  Every 
owner  is  conscious  of  a  certain  distinction  given  to  his  vehicle  by  artist- 
craftsmen,  who  mold  the  severe  lines  of  utility  into  those  of  beauty  and 
elegance.  To-day  Studebaker  style  is  standard.  Full  lines  at  our 
repository.     Also  harness  and  accessories. 

STUDEBAKER  BROS.  MFG.  CO. 

378  to  388  Wabash  Ave.,  Chicago 


So 


Miss  Narcissa  Cox 
Flower  Girl 


Mr.  Wm.  J.  Sherman  —  Christophero  Mr.  Schuyler  B.  Terry 

5* 


The 


University  Secondary  School 

of  the  University  of  Chicago 


JOHN  DEWEY,  Director 


WILLIAM   BISHOP  OWEN,  Dean 


.jsHIS    School,    which   was    formerly   con- 
ducted under  the  name  of  the  South  Side 
^i^jSH^Tj^  Academy,  is  now  under  the  control  of  the 


Y?*Mk^*  Department  of  Education  of  the  Univer- 
sity of  Chicago.  IfThe  School  provides 
adequate  preparation  for  any  college  or  technical 
school  in  the  country  to  many  of  which  its  certificate 
admits  without  examination.    For  information  address 

The   University  Secondary  School 

5467  Lexington  Avenue,  Chicago 


Miss  Veda  Sutton 
Orange  Girl 


Mr.  D.  A.  Robertson 
Jaques  de  Prie 


WW 

L 

tA 

Mr.  Woodhead 


Mr.  Robertson  Miss  Hobbs 


Mr.  Steele 


S3 


The  Academy 
of  the  Univer 


sity  ^Chicago 


FOR  BOYS 

ITH  its  eleven 
acres  of  play- 
grounds the 
Academv  of  the  Gymnasium  and  Athletic  Field 

University  of  Chicago  affords  to  the  Chicago  boy  an  oppor- 
tunity for  a  larger  and  more  healthful  outdoor  life  than  he 
can  have  in  the  city.  Although  a  constituent  part  of  the 
University  of  Chicago,  the  Academy  is  situated  eight  miles  from  the  main 
University  campus,  at  Morgan  Park,  just  outside  the  city  limits,  and  hence  is 
commonly  called  the  Morgan  Park  Academy.  By  its  location  Chicago  parents 
are  enabled  to  give  their  sons  the  advantages  of  a  good  school's  discipline, 
without  the  necessity  of  sending  them  a  long  distance  from  home.  Seven 
modern  buildings  provide  an  equipment  that  includes  all  that  is  essential 
to  health  and  comfort  and  conducive  to  study.  The  eleven  teachers  are 
thoroughly  qualified,  and  the  courses  of  study  include  Manual  Training  and 
meet  the  requirements  of  all  colleges  and  technical  schools.  Parents  interested 
are  invited  to  visit  the  school  or  to  write  for  further  information  to  the  Dean, 

WAYLAND    J.    CHASE,    MORGAN    PARK,    ILLINOIS 


mm 


Burlington1 


This  Picture  shows  the  old  way  of  going: 

The  new  way  is  to  take  a  Burlington 
Route  train,  only 

One  Night  on  the  Road 

CHICAGO  to  DENVER 
St.  LOUIS  to  DENVER 


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modern  sleepers  and  dining  cars  a  fa  carte  in  which  is 
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The  train  from  Chicago  has  a  Library-Buffet-Smoking  car. 


Send  5c  In  postage  for 
our  beautiful  ji  page 
book  on  Colorado. 


P.  S.  Eusns, 

General  Passenger  Agent, 

C.  B.  &  Q.  R.  R  .Chicago,  111. 


54 


^s» 

&JUP 

sail 

liliPi 

&SS             \ 

Miss  Julia  C.  Hobbs 


Mr.  parson 


Mr.  Mellinger 


Mr.  Nettleton 


Mr.  R.  H.  Wellington 


55 


UNIVERSITY  of  ILLINOIS 
College   of  Physicians   and   Surgeons 

(Opposite  Cook  County  Hospital) 
Attendance 


1901-1902 
over  700 


In  the  heart 
of  the  med- 
ical center 


Affords  every  advantage  that  can  be  obtained  from  thoroughly 
equipped  laboratories,  amphitheaters,  class  rooms,  library, 
gymnasium  and  dispensary.  Persons  interested  in  medical 
education  are  invited  to  investigate.  Address 
Dr.  Frank  B.  Earle,  Secretary,  Congress  6*  Honore  Sts.,  Chicago 


N.W.HARRIS 

&  COMPANY 

Bankers 


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Securities 

Foreign  and 
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Credit 

Corresp'nd'nce 
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invited 


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New  York    CHICAGO  Boston 


56 


Imp  Wittmann  Paris 


QUEEN    ELIZABETH 

from    the  iviyraviny    by     WILLIAM    ROGERS 


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THE 

CASE  ^k 

ALT 

E  R  E  D  V 

LOOK        AROUND   — 

you'll        SEE        OTHERS                 <jfehf. 

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I  MAKE  EVERYTHING  KNOWN  TO  FINE 
TAILORING     BUT     MY     LEADER     IS    A 

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CARROLL  S.  McMILLEN 

TAILOR,     No.     33     ADAMS     ST. 

_ 


AN  INTERIOR  VIEW  OP  A  THEATRE  IN  THE  TIME  OF  SHAKESPEARE. 

THE  SWAN  THEATRE,    1 596.  [p.  286. 


59 


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elaborate  and  beautiful  pr< 
tions  of  its  kind. 

Advertising  Experience,  Ch 
Hollister  Brothers  have  issi 
specimen  book  that  should 
the  hands  of  every  person 
ested  in  the  preparation  of  a 
tising  literature. 

Progressive  Printer,  St.  I 

One  of  the  largest  and  1 
samples  of  the  printing  art 
has  come  to  this  depart 
recently  is  from  Holli 
Brothers,  Chicago;  being  as 
men  book  of  engraved  and 
set  cover  designs,cataloguep 
halftone  printing  and  color 
done  by  this  firm  for  diff 
customers.  The  book  wou 
of  material  benefit  to  persoi 
terested  in  preparation  of  a 
tising  literature  or  the  "ge 
up"  of  catalogues  or  bool 


The  book  is  issued  to  advertise  our  business,  and  at  the  same  time 
be  of  service  to  others  in  planning  advertising  literature.  Those  \* 
have  this  work  to  do  will  appreciate  the  helpfulness  of  the  ms 
suggestions  to  be  had  from  such  a  collection.  Sent  by  expr 
prepaid  to  prospective  patrons  upon  receipt  of  price — five  dollars 
this  amount   to   be  credited   on   the   first   order  placed   thereaf 

Hollister  Brother 

Designers,  Engravers,  Printers,  Madison  &  Market  Streets,  Chics 


CONTRIBUTORS  to  the  SETTLEMENT   FUND 


Abernethy  &  Staples. 
Academy  of  the  University  of  Chi- 
cago. 
American  Book  Company. 
Anderson  Art  Company. 
D.  Appleton  &  Company. 
Mrs.  D.  E.  Avery. 
Atchison,  Topeka  &  Santa  Fe  Ry. 
Alfred  L.  Baker  &  Co. 
Mr.  A.  C.  Bartlett. 
Julius  Bauer  Piano  Co. 
Mr.  George  P.  Bent. 
Best  &  Russell  Co. 
Bordens  Condensed  Milk  Co. 
Mrs.  Harriett  C.  Brainard. 
Brentanos. 
Brink's  Express. 
Burlington  Route. 
Burley  &  Company. 
Miss  Annice  Bradford  Butts. 
Carson,  Pirie,  Scott  &  Co. 
Chicago  College  of  Dental  Surgery. 
Chicago.  Milwaukee  &  St.  Paul  Ry. 
Colbert  Drug  Co. 
College  of  Physicians  &  Surgeons. 
Commonwealth  Electric  Co. 
John  Conrad  &  Co. 
Mr.  M.  J.  Corboy. 
Crown  Piano  Co. 
Dejonghe  Restaurant. 
Mr.  George  Duddleston. 
Earl  &  Wilson. 
Mr.  H.  F.  Eggers. 
Garibaldi  &  Cuneo. 
Mr.  J.  J.  Gill. 
Mr.  Carl  Godee. 
Mr.  Sam.  J.  Gorman. 
Mr.  Henry  C.  Hackney. 
Mr.  Earnest  Hamill. 
Mr.  Anton  Hamm. 
N.  W.  Harris  &  Co. 
Hollister  Bros. 
Home  Delicacies  Association. 
Illinois  Central  Ry. 
Mr.  W.  G.  Jerrems. 
Kenwood  Institute. 
Mr.  Ernest  M.  Kimball. 
Mr.  J.  H.  Kintz. 
Kirchhoff  &  Neubarth  Co. 
Kohler  Bros. 


Mr.  W.  H.  Krell. 

Library  Bureau. 

Lewis  Institute. 

Mr.  M.  H.  MacLean. 

Mr.  Wm.  Madsen. 

The  Marsh  &  Burgham  Co. 

Marsh,  Ullman  &  Co. 

Mr.  A.  McAdams. 

Mr.  J.  G.  McCarthy. 

A.  C.  McClurg  &  Co. 

Mr.  Carroll  S.  McMillen. 

Morrison,  Plummer  &  Co. 

The  Mossier  Co. 

Mr.  P.  M.  Murphy. 

Orr  &  Lockett  Hardware  Co. 

Mr.  Wm.  B.  Owen. 

Pearsons  Taft  Land  Credit  Co. 

Mr.  Dwight  H.  Perkins. 

The  Pilgrim  Press. 

Pioneer  Fire-Proofing  Co. 

Pitkin  &  Brooks. 

Porter  Battery  Co. 

Mr.  L.  H.  Prentice. 

Prosch  &  Newmann. 

A.  H.  Revell  &  Co. 

Mr.  Jas.  Gamble  Rogers. 

Rush  Medical  College. 

Mr.  William  Sachen. 

Mr.  C.  A.  Samuelson. 

Mr.  H.  W.  Schlueter. 

Scott,  Foresman  &  Co. 

The  Secondary  School. 

Seifert  &  Mann. 

Selz,  Schwab  &  Co. 

Shafer  &  Young. 

Sheply,  Rutan  &  Coolidge. 

Mr.  Harry  G.  Smucker. 

Ralph  &  Sumner  Sollitt. 

Southern  Railway. 

Sprague  Warner  &  Co. 

Studebaker  Bros.  Mfg.  Co. 

Thayer  &  Chandler. 

The  Tobey  Furniture  Co. 

The  University  of  Chicago. 

Wabash  Railway. 

Walsh,  Boyle  &  Co. 

Weaver  Coal  Co. 

Mr.  W.  S.  Wyman.      • 

Mr.  H.  Zeiss. 


63 


CHICAGO  COLLEGE  of 
DENTAL    SURGERY 

DENTAL     DEPARTMENT     OF      LAKE     FOREST     UNIVERSITY 

The  2 1 st  Annual  Course  of  Instruction 

will  begin  about  the  ist  of  October,  1902,  ending  about 
May  1,  1903.  Students  entering  for  this  term  can  gradu- 
ate after  attending  three  full  Winter  Courses  of  Lectures 
and  passing  the  required  examinations.  Students  who 
enter  for  the  term  of  1903  and  1904,  and  thereafter,  will 
be  required  to  attend  four  Annual  Winter  Courses  of 
seven  months  each,  before  examination  for  graduation. 
Instruction  is  complete  in  every  detail.  The  Clinical 
material  is  abundant.  The  College  Building  and  its  Equip- 
ment offer  unsurpassed  facilities  to  the  Dental  Student. 

FOR      ANNOUNCEMENT      AND      DESCRIPTIVE      BOOKLET      ADDRESS 

DR.     TRUMAN    W.     BROPHY,     Bean 

Corner  WOOD   AND   HARRISON   STREETS,  CHICAGO,  ILLINOIS 


Mentally  Active  People 


Require  different  exercise  and  effort  from  the 
athlete  and  the  gymnast.  Violence  is  not  so 
much  needed  as  gentle  activity  of  the  muscles. 
A  proper  variation  of  light  and  slow  exercise 
will  build  you  up  when  you  "  feel  poorly." 
"Madsen's"  is  thoroughly  equipped  for  utilizing 

All  Systems  %&% 


A  gentle,  non-exhaustive  exercise  is  recom- 
mended and  applied  with  great  success  among 
sedentary  workers.  Your  investigation  is  invited 

THE    MADS  EN   HTGIENIC    INSTITUTE 

Ninth  Floor  SCHILLER  BUILDING 


64 


PRTSS     OF 

HOILISTCM     BROTHERS 

CHICAOO 


UNIVERSITY  COLLEGE  of 

THE  UNIVERSITY  OF  CHICAGO 


np  HE  University  of  Chicago  conducts  in  the  Fine  Arts  Build- 
-*•  ing  a  full  organized  College  doing  the  same  work,  by  the 
same  instructors,  for  the  same  credit  as  in  courses  at  the  Quad- 
rangles. This  College  has  been  constructed  out  of  the  work 
formerly  done  by  the  Class  Study  Department  of  the  University 
Extension  Division  and  by  the  College  for  Teachers. 

TTS  theory  is  to  conduct  College  and  University  work  at  such 
-*•  hours  and  in  such  a  place  as  will  accommodate  the  large  body 
of  students  who  cannot  come  into  residence  at  the  Quadrangles. 
It  has  its  rooms  in  the  Fine  Arts  Building,  and  uses  the  late 
afternoons  and  evenings  and  Saturdays  for  its  times  of  work. 

T  TP  to  the  present  time  the  advantages  of  University  College 
^  have  been  taken  chiefly  by  active  teachers  in  the  city 
schools.  But  they  are  equally  offered  to  all  whose  circum- 
stances or  employment  are  such  as  to  enable  them  to  take  only 
a  few  studies,  and  at  convenient  hours. 

DURING  the  current  year  sixty  courses  under  thirty-five  in- 
structors have  been  offered  by  the  following  Departments : 
Philosophy,  Education,  Political  Economy,  Political  Science, 
History,  Sociology,  Greek,  Latin,  French,  German,  English, 
Mathematics,  Chemistry,  Physics,  Geology,  Zoology,  Botany, 
Public  Speaking.  The  number  of  Students  for  the  year  is  515, 
of  whom  more  than  one-half  are  active  candidates  for  degrees. 

A  MEANS  is  here  found  for  enabling  many  persons  whose 
education  was  interrupted  to  obtain  advanced  standing, 
finish  their  training,  secure  University  degrees,  all  while  con- 
tinuing their  ordinary  employments. 

The  College  opens  for  the  Autumn  on  October  1st. 


FOR      FULL      INFORMATION      ADDRESS 

William  D.  MacClintock  fine  arts"  building 


JL-I     JLVX1.  JL        KJ<J±J 

RETURN  TO  DESK  FROM  WHICH  BORROWED 
LOAN  DEPT. 

This  book  is  due  on  the  last  date  stamped  below,  or 

on  the  date  to  which  renewed. 

Renewed  books  are  subject  to  immediate  recall. 


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amain. 

Vfonroe  street, 
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General  Library 
University  of  California 

Berkeley  |  as  the  money 


will  buy. 

It  is  sold  by  most  good  shoe  men;  if  you  don't  know  where  to 
get  it  ask  us. 


S  E  L  Z—  Chicago 


Largest  makers  of  GOOD  SHOES  in  the  world 


y«y 


aulord 


PAMPHLET  BINDER 
Syracuse,  N.  Y. 
Sfoekton-,  Calif. 


14  DAY  USE 

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LOAN  DEPT. 

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TW     aZ  *?  date  to  which  renewed.  ' 

Renewed  books  are  subject  to  immediate  recall 


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General  Library 

University  of  California 

Berkeley 


